By Andrez Bergen
While most people conjuring up the Tristan/Tristram and Isolde/Iseult tale of yore probably think love-potion histrionics, armour, amore, King Arthur, much bodice-ripping, Richard Wagner’s opera, or James Franco in one of his lamer film roles, I steer towards something far nicer: A book of myths and legends that I grew up with, illustrated by the great Alice and Martin Provensen.
Martin collaborated on Disney fare like Dumbo and Fantastia, but you might know him best for his creation (in 1952) of Tony the Tiger for Kelloggs. I actually have a coffee mug with that on it. Alice worked with the Walter Lantz Studio, creators of Woody Woodpecker. But it was their imagery as pair that caused the most impact, with eight books making the New York Times list for best-illustrated tomes each year they were published.
Anyway, Alice and Martin are bloody brilliant artists.
My dad picked up for me the myths and legends book I mentioned when I was in primary school, and I call it simply (suitably) Myths & Legends — though the official title is the somewhat long-winded Golden Treasury of Myths and Legends Adapted from the World’s Great Classics (originally published in 1958) with the stories adapted by Anne Terry White.
So I always dug the tale of Tristram & Iseult (also known as Tristan & Isolde) for the artwork as much as the words and had it in mind for years to adapt the story in some way, somehow. I did pay homage in my novel One Hundred Years of Vicissitude, but on New Year’s Eve I got the bug in my “creative” bonnet to have a swing at the yarn — as a comic book.
Hence Trista & Holt.
Now, before you cough, splutter and/or soapbox that comic books are not real literature and belong nowhere near noir or on this site, let me point you in the direction of writers Alan Moore (who did V for Vendetta, Marvelman and Watchmen, all three of which have appeared on university curriculums apparently — though don't quote me), Frank Miller (Sin City and some of the best Batman and Daredevil escapades), Matt Fraction (Hawkeye) and the great Ed Brubaker — who rebooted Captain America with the 'Winter Soldier' saga and has done comics with names like Criminal and Fatale.
So get over it.
If you didn't hack, choke or get judgemental at the mention of sequential stuff, all the better.
Anyway, over Christmas/New Year I was also entrenched in another Dashiell Hammett/Raymond Chandler binge. I do them frequently. But this time I caught up on 95% of the Continental Op stories, along with The Glass Key, The Maltese Falcon and The Thin Man (yet again), as well as Marlowe in Playback and The High Window.
So I had this big hardboiled detective vibe happening in my brain, while polishing off my Bullet Gal series — which is hardboiled noir set in the '40s.
And when I started the new comic, of course these influences were going to hang heavy — along with the comic book work of Brubaker, Fraction, Miller, Moore and the pioneering Will Eisner (The Spirit).
Which brings me to the new comic series, the first issue of which will be published at the end of February via IF? Commix [iffybizness.weebly.com] in Australia.
Hell, there's even a Facebook page [facebook.com/tristaandholt] where I put regular work-in-progress rubbish and waffle on a bit more than here.
What's the score?
Well, it's the 1970s and set in an unnamed city in which crime families flourish and the police pinch pennies from those with most power. Our heroes are members of rival clans, star-crossed heirs apparent destined to find love, loss and betrayal.
I have no idea what encouraged me to flip the coin three pages into the new series and set the time frame as the '70s.
Sure, some of the best crime/gangster movies were made then like The Godfather, The Anderson Tapes, Dirty Harry, The French Connection and A Clockwork Orange — but it's also the era of flares, disco, The Star Wars Holiday Special and CHiPs.
Which makes it all the more fun to tackle. With a serious bent, I swear.
:: Andrez Bergen blogs here: https://andrezbergen.wordpress.com